20.500.12556/RUL-164189 Razcepi na visoko in nizko kulturo na Slovenskem z ozirom na politične interese Divisions into high and low culture in Slovenia with regard to political interests Obstoječe razprave nizko kulturo povezujejo z razvojem tržnega gospodarstva. Kot negacija tržne kulture se je modernizem razvijal kot umetnost, neodvisna od drugih družbenih interesov. K takšni avtonomiji pa ni težila avantgarda, ki je prispevala bolj radikalna, v prihodnost ali politično usmerjena prizadevanja in je uporabljala tudi sredstva nizke kulture. Toda onstran teh treh usmeritev, ki so se razvile tudi na Slovenskem, je v tem prostoru obenem treba upoštevati služenje umetnosti, zlasti leposlovja, v 19. stoletju, procesu grajenja naroda. Kot visoka se pri tem razume tista kultura, ki je narejena intencionalno, upoštevajoč visoke estetske standarde. Tudi v 20. stoletju umetniki to povezujejo s slovenskostjo, to pa ni sprejeto z vsesplošnim odobravanjem. Kot visoka kultura se uveljavlja modernizem, osredotočen na estetska vprašanja; to je bilo v razmerah političnega zaostrovanja sprejemljivo, čeprav so bili v ozadju vplivi z Zahoda. Nasprotno pa so bili ideološko sumljivi umetniki pred drugo svetovno vojno, med njo in po njej vse bolj marginalizirani. Njihova dela iz političnih razlogov niso bila sprejeta kot dela visoke kulture, čeprav so po estetskih kriterijih to bila. The existing debates link low culture to the development of the market economy. As a negation of market culture, modernism developed as art, independent from other social interests. The avant-garde, which contributed more radical, future- or politically-oriented approaches, did not strive for such autonomy, and it also used means of low culture. In addition to these three orientations, which occurred in Slovenia as well, we also need to take into account the fact that art, especially literature in the nineteenth century, served the process of nation-building. High culture is in this regard that culture, which is intentionally made according to high aesthetic standards. In the twentieth century, the artists still point out Slovenian identity. This is however not generally approved. Modernism emerged as high culture, focusing on aesthetic issues, which was acceptable in a situation of political aggravation, even though it was influenced by Western culture. On the contrary, before, during and after World War II, the ideologically suspicious artists were increasingly marginalized. Their works, which were works of high culture according to the aesthetic criteria, were not accepted as such for political reasons. umetnost modernizem avantgarda grajenje naroda estetika art modernism avant-garde nation building aesthetics true false true Slovenski jezik Angleški jezik Članek v reviji 2024-10-17 10:32:26 2024-10-17 10:32:27 2024-10-18 04:18:07 0000-00-00 00:00:00 2022 0 0 Str. 1037-1052 [št.] 4 Letn. 82 2022 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 2022-01-01 111.852:7.038.6 0006-5722 10.34291/BV2022/04/Tratnik 135711235 Tratnik.pdf Tratnik.pdf 1 B124BCA23B25F917B58F5A0BB2591B62 0c639a5eeec49b6b2d5db1d5806bdd28c47f0440a5037d31156f5521ebd3c8c1 1624d691-8c62-11ef-b232-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=194381 https://www.teof.uni-lj.si/zaloznistvo/bogoslovni-vestnik/bogoslovni-vestnik-82-2022-4 0 3a883970-8c68-11ef-b232-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=194400 Teološka fakulteta Bogoslovni vestnik 0 0 0